Fay is born on August 30, 1870, at 10 Lower Dorset Street, Dublin, the eldest son of four children of William Patrick Fay, a government clerk, and his wife, Martha Fay (née Dowling). He is educated at Belvedere College, Dublin, where he learns shorthand and typing, before leaving to become a secretary for an accountancy firm in Dublin. From an early age he has a passion for the theatre and immerses himself in books on the subject, becoming a drama expert. His brother, William George Fay, shares his enthusiasm and they take part in many amateur productions, setting up the Ormonde Dramatic Company in 1891.
Fay is an ardent nationalist, and Arthur Griffith appoints him drama critic for his newspaper, the United Irishman (1899–1902), where he develops his ideas on how the theatre should be run. Initially in favour of plays in the Irish language, he soon abandons this as unworkable. In May 1901 he attacks W. B. Yeats for his faulty notions about theatre and even his work as a dramatist, ending with the fiercely nationalistic assertion that “there is a herd of Saxon and other swine fattening on us. They must be swept into the sea with the pestilent breed of West Britons with which we are troubled, or they will sweep us there.” Yeats’s and Lady Gregory‘s next play is Cathleen ni Houlihan.
In 1902, Fay writes a famous article advocating a national theatre company that will “be the nursery of an Irish dramatic literature which, while making a world-wide appeal, would see life through Irish eyes.” He is a member of his brother’s National Dramatic Society, which merges with the Irish Literary Theatre in 1902 to form the Irish National Theatre Society, the originating body of the Abbey Theatre. The following year Yeats declares that the national theatre owes its existence to the two Fay brothers. Fay soon abandons Griffith and begins to champion the cause of Yeats.
An excellent tragic actor, Fay can make audiences forget his less than five feet six-inch stature through the power of his voice. When the Abbey Theatre opens on December 27, 1904, he stars in Yeats’s On Baile’s Strand as Cú Chulainn, a role he makes his own. He spends much time training the other actors. As an elocution teacher he has no equal. One play has Yeats leaving with his “head on fire” because of the quality of the voices on stage. Yeats dedicates his play The King’s Threshold (1904) with the words: “In memory of Frank Fay and his beautiful speaking in the character of Seanchan.”
Fay has a close but turbulent relationship with his brother William, whom he defers to in all theatrical matters except acting. Their heated arguments sometimes lead to blows. His temper is always volatile, and he is prone to histrionics and fits of depression. After 1905, the Abbey Theatre becomes a limited company owing to the patronage of Annie Horniman, and the Fays lose most of their control, which results in much tension and bitterness. In 1907, Fay plays Shawn Keogh in the first production of The Playboy of the Western World by John Millington Synge.
Disagreements with Yeats over the approach to choosing and staging of plays comes to a head late in late 1907 and the Fays resign on January 13, 1908. On March 13 they are suspended from the Irish National Theatre Society. They tour the United States with Charles Frohman before separating. Fay then tours England in minor Shakespearean roles and melodrama. Between 1912 and 1914, Thomas MacDonagh and Joseph Mary Plunkett attempt to persuade him to become actor-manager of an Irish theatre. In 1918 he returns to the Abbey Theatre in two short-lived revivals of Yeats’s The Hour Glass and The King’s Threshold. He retires to Dublin permanently in 1921, teaching elocution and directing plays in local colleges.
Fay marries, in 1912, Freda, known as “Bird.” They live at Upper Mount Street, Dublin, and have one son, Gerard, who becomes a popular writer and memoirist. Fay dies on January 2, 1931, having never really recovered from the death of his wife, and is buried at Glasnevin Cemetery. He is credited with creating the Abbey Theatre style of acting, which becomes internationally known, and influences many other schools of acting. He wanted actors to behave as naturally as possible and to speak the lines as people would in real life, rather than with an exaggerated stage delivery. His training is a major influence on subsequent generations, as actors learned to “speak words with quiet force, like feathers borne on puffs of wind.”
(From: “Fay, Frank J. (Francis John)” by Patrick M. Geoghegan, Dictionary of Irish Biography, http://www.dib.ie, October 2009) | Pictured: Portrait of Frank Fay by John Butler Yeats, commissioned by Annie Horniman for the opening of the Abbey Theatre, December 27, 1904)
McKenna is born Kathleen Maria Kenna on September 9, 1897, in Oldcastle, County Meath. Her parents are William, a draper and hardware merchant, and Mary Kenna (née Hanley). She is the eldest child of seven, with three sisters and three brothers. She and her siblings add “Mc” to their surname as teenagers. Her maternal grandfather, a Fenian, miller and land agitator, is a strong influence on her. Agnes O’Farrelly is her paternal great aunt. She attends the Oldcastle Endowed School and goes on to pass the National University of Ireland (NUI) matriculation examination. She attends University College Dublin (UCD) briefly, but the family’s circumstances prevent her from completing her course.
McKenna’s father had been an active member of the Irish National Land League and the Meath Labour Union. He is one of the organisers of a short-lived local newspaper, Sinn Féin – Oldcastle Monthly Review, in 1902. Both her parents are members of Conradh na Gaielge. Arthur Griffith and Brian O’Higgins frequently visit the family home. Denounced by the local parish priest, Fr. Robert Barry, her father’s business goes into decline. The family leaves Oldcastle and moves to Dundalk in August 1915, and to Rugby, Warwickshire, England, in March 1916. In Rugby, her father teaches typing and shorthand, and her mother works in an ammunition factory. She works as a secretary for an engineering firm. Members of the family return to Ireland from 1919 to 1922, and by the time of her father’s death in 1939, he is living back in Oldcastle.
McKenna spends some holidays in Ireland and, during a visit to Dublin in the summer of 1919, she presents herself to the Sinn Féin offices in Harcourt Street. She has a letter of introduction from her father to Griffith, which emphasises her willingness to work for Irish independence. For her holidays, she works in the Sinn Féin press bureau and is employed as one of the first “Dáil girls” of the clandestine government. She is informed that if a planned news bulletin comes through, she will be summoned back to Dublin. In October 1919, she receives that summons and, after a typing test on November 11, she joins the Irish Bulletin under Minister for Publicity, Desmond FitzGerald, and director of publicity, Robert Brennan. She also becomes a member of the Conradh na Gaielge Parnell branch.
The Irish Bulletin is published five times a week, circulating the misdeeds of the British government in Ireland. McKenna edits and mimeographs a summary of “acts of aggression” from British forces in Ireland weekly, compiled by Anna Kelly. Frank Gallagher does most of the writing, edited by FitzGerald, and later Erskine Childers. Though she is sometimes described as the Bulletin‘s editor, she is more akin to an editorial assistant. R. M. Smyllie later recalls that she was in regular contact with the media. She types out each issue on a wax stencil in a typewriter which is used to create mimeograph copies, and then circulated to England. In the beginning, about 30 recipients, mostly London journalists, receive the Bulletin but by October 1920 it has grown to 600, and by July 1921 over 1,200. She also keeps the accounts, takes dictation of statements, and at times works up articles from notes given to her by Griffith or others. She also acts as a confidential messenger, couriering between Dáil departments and Irish Republican Army (IRA) leaders such as Michael Collins. Through this, she meets Moya Llewelyn Davies.
The Bulletin becomes a symbol of the underground government and a target for British forces. This necessitates the frequent moving of the operation from one Dublin hideout to another. She fears that if she were captured, she would break under interrogation. When FitzGerald is arrested, he is asked about “the girl wearing a green tam” in reference to McKenna’s tam-o’-shanter hat which prompts her to change her choice of hat. Despite the capture of a number of the Bulletin staff, as well as the capture of the office files and equipment on March 26, 1921, it never misses an issue.
McKenna’s sister Winifred also works as a secretary to the clandestine government. Her brother, Tadhg (Timothy), is a member of Sinn Féin and in Greenore, County Louth, is involved in trade union affairs. He is detained, beaten, and interned in March 1921. He is later an activist with the Irish Labour Party. Her brother William is a messenger for the Irish government during this period and during the Irish Civil War serves in the Free State Army.
After the truce in 1921, McKenna is assigned to the Dáil cabinet secretarial staff at the Mansion House, where she continues to work in the publicity department. She travels as Griffith’s private secretary to London as part of the Irish delegation to the treaty negotiations in October 1921. She is an admirer of both Griffith and Collins and is a firm supporter of the Anglo-Irish Treaty. She works as Griffith’s secretary until just before his death and also does some secretarial work for Collins during the negotiations. One of her sisters is anti-Treaty, and she later recalls that she lost friends due to her support of the treaty.
McKenna marries Vittorio Napoli in 1931. He is a captain, and later a general, in the Italian royal grenadier guards. They meet when she is on holiday in Italy in 1927. For the first five years of their marriage, they live in the port of Derna in Cyrenaica, Libya, while her husband is stationed there. A son and daughter are born there. From September 1939 to June 1940, the family lives in Albania, but after Italy enters World War II, she and the children move to Viterbo. Her husband is taken prisoner in Greece in September 1943, and is detained in Germany and Poland. He returns to Italy in September 1945. Viterbo had been heavily bombed, and after Allied troops arrive, McKenna works as a translator and gives English language lessons to support her family. Her husband remains in the army, and they remain in Viterbo until 1956, later moving to Rome.
After the war, McKenna writes articles for the Irish Independent and other publications from Ireland, the United States and New Zealand, including The Irish Press, Irish Travel, Standard, Word, and Writer’s Digest. Sometimes she writes under her own name, as well as her pen name Kayn or Kayen MacKay. As the wives of Italian officers do not traditionally work, the money she earns from this is kept for travel and other leisure activities. This money allows her to visit her family in Ireland in 1947 for the first time since 1932. After their retirement, she and her husband visit Ireland regularly, and travel around Italy.
McKenna applies for an Irish military pension in 1950/51 and 1970, receiving references in support of her claim from Gallagher. As she had not served in a military organisation, her claims are rejected. As an Irish War of Independence veteran, she is awarded free travel in 1972, which is later extended to her husband. In her later years, she becomes concerned about the inaccuracies in the history around the Irish War of Independence and the Irish Civil War. She gives two talks to Radio Éireann in 1951, speaking about her time with the Irish Bulletin. Copies of these recordings are now held by the Bureau of Military History. During her lifetime, extracts of her memoir are published in the Capuchin Annual and The Irish Times. She drafted and redrafted these memoirs from the late 1940s to the early 1980s. A version edited by her daughter and niece is published in 2014 as A Dáil girl’s revolutionary recollections.
McKenna dies on March 22, 1988, in Rome. She is buried with an Irish flag which she had kept with her. A large collection of her papers is held in the National Library of Ireland (NLI). In 2010, 2011 and 2016, some of her memorabilia is sold in Dublin.
Fay is the eldest son of four children of William Patrick Fay, a government clerk, and his wife, Martha Fay (née Dowling). He is educated at Belvedere College, Dublin, where he learns shorthand and typing, before leaving to become a secretary for an accountancy firm in Dublin. From an early age he has a passion for the theatre and immerses himself in books on the subject, becoming a drama expert. His brother, William George Fay, shares his enthusiasm and they take part in many amateur productions, setting up the Ormonde Dramatic Company in 1891.
Fay is an ardent nationalist and Arthur Griffith appoints him drama critic for his newspaper, the United Irishman (1899–1902), where he develops his ideas on how the theatre should be run. Initially in favour of plays in the Irish language, he soon abandons this as unworkable. In May 1901 he attacks W. B. Yeats for his faulty notions about theatre and even his work as a dramatist, ending with the fiercely nationalistic assertion that “there is a herd of Saxon and other swine fattening on us. They must be swept into the sea with the pestilent breed of West Britons with which we are troubled, or they will sweep us there.” Yeats’s and Lady Gregory‘s next play is Cathleen ni Houlihan.
In 1902, Fay writes a famous article advocating a national theatre company that will “be the nursery of an Irish dramatic literature which, while making a world-wide appeal, would see life through Irish eyes.” He is a member of his brother’s National Dramatic Society, which merges with the Irish Literary Theatre in 1902 to form the Irish National Theatre Society, the originating body of the Abbey Theatre. The following year Yeats declares that the national theatre owes its existence to the two Fay brothers. Fay soon abandons Griffith and begins to champion the cause of Yeats.
An excellent tragic actor, Fay can make audiences forget his less than five feet six inch stature through the power of his voice. When the Abbey Theatre opens on December 27, 1904, he stars in Yeats’s On Baile’s Strand as Cú Chulainn, a role he makes his own. He spends much time training the other actors. As an elocution teacher he has no equal. One play has Yeats leaving with his “head on fire” because of the quality of the voices on stage. Yeats dedicates his play The King’s Threshold (1904) with the words: “In memory of Frank Fay and his beautiful speaking in the character of Seanchan.”
Fay has a close but turbulent relationship with his brother William, whom he defers to in all theatrical matters except acting. Their heated arguments sometimes lead to blows. His temper is always volatile and he is prone to histrionics and fits of depression. After 1905, the Abbey Theatre becomes a limited company owing to the patronage of Annie Horniman, and the Fays lose most of their control, which results in much tension and bitterness. In 1907, Fay plays Shawn Keogh in the first production of The Playboy of the Western World by John Millington Synge.
Disagreements with Yeats over the approach to choosing and staging of plays comes to a head late in late 1907 and the Fays resign on January 13, 1908. On March 13 they are suspended from the Irish National Theatre Society. They tour the United States with Charles Frohman before separating. Fay then tours England in minor Shakespearean roles and melodrama. Between 1912 and 1914, Thomas MacDonagh and Joseph Mary Plunkett attempt to persuade him to become actor-manager of an Irish theatre. In 1918 he returns to the Abbey Theatre in two short-lived revivals of Yeats’s The Hour Glass and The King’s Threshold. He retires to Dublin permanently in 1921, teaching elocution and directing plays in local colleges.
Fay marries, in 1912, Freda, known as “Bird.” They live at Upper Mount Street, Dublin, and have one son, Gerard, who becomes a popular writer and memoirist. Fay dies on January 2, 1931, having never really recovered from the death of his wife, and is buried at Glasnevin Cemetery. He is credited with creating the Abbey Theatre style of acting, which becomes internationally known, and influences many other schools of acting. He wanted actors to behave as naturally as possible and to speak the lines as people would in real life, rather than with an exaggerated stage delivery. His training is a major influence on subsequent generations, as actors learned to “speak words with quiet force, like feathers borne on puffs of wind.”
(From: “Fay, Frank J. (Francis John)” by Patrick M. Geoghegan, Dictionary of Irish Biography, http://www.dib.ie, October 2009) | Pictured: Portrait of Frank Fay by John Butler Yeats, commissioned by Annie Horniman for the opening of the Abbey Theatre, December 27, 1904)
Gregg is born on June 17, 1867, in Shantonagh, County Westmeath, as the youngest child of Robert and Margaret Gregg, where they remain until 1872, when they move to Rockcorry, County Monaghan. He enters the village school in Rockcorry in 1872. On his second day of class, he is caught whispering to a schoolmate, which prompts the schoolmaster to hit the two children’s heads together. This incident profoundly damages his hearing for the rest of his life, rendering him unable to participate fully in school, unable to understand his teacher. This ultimately leads to him being unnecessarily perceived as dull or mentally challenged by his peers, teachers, and family.
In 1877, after seeing a friend use Pitman shorthand to take verbatim notes of a preacher’s sermon, Robert Gregg sees the shorthand skill as a powerful asset, so he makes it mandatory for his children to learn Pitman shorthand, with the exception of John, who is considered by his family too “simple” to learn it. None of the children succeed in fully learning the system. On his own, John learns the shorthand system of Samuel Taylor. He teaches himself the system fully, since he does not require the ability to hear in order to learn from the book.
Gregg says he initially set out to improve the English adaptation by John Matthew Sloan of the French Duployan shorthand, while working with one of Sloan’s sales agents, Thomas Malone. Malone publishes a system called Script Phonography, of which Gregg asserts a share in authorship is owed to him. Angered by Malone, he resigns from working with him and encouraged by his older brother Samuel, publishes and copyrights his own system of shorthand in 1888. It is put forth in a brochure entitled Light-Line Phonography: The Phonetic Handwriting which he publishes in Liverpool, England.
In 1893, Gregg emigrates to the United States. That year he publishes Gregg shorthand with great success. He settles in Chicago in 1895 and by 1896 dozens of American public schools are teaching Gregg shorthand. The first Gregg Shorthand Association is formed in Chicago that year with 40 members. In 1897 the Gregg Publishing Company is formed to publish shorthand textbooks.
By 1907 Gregg is so successful that he opens an office in New York and then moves there. The popularity of his shorthand system continues to grow with it being taught in 533 school systems by 1912. In 1914 the New York City Board of Education approves the experimental introduction of Gregg shorthand into its high schools, where the Pitman system had long held sway. That same year the system is admitted to Columbia University (New York) and the University of California, Berkeley.
After World War I, Gregg travels extensively throughout Great Britain, hoping to popularize his system there. He is not quite as successful in this endeavor as he had been in America, but he sees Gregg shorthand become wildly popular in France, Germany, Poland, Spain, and especially Latin America, where for years Gregg’s birthday is a national holiday.
Following his wife’s death in 1928 Gregg returns to New York. He throws himself into volunteer work and continues to perfect the Gregg system. Over the next several years he is the recipient of several honorary degrees from American educational institutions. At one such ceremony in June 1930 he renews his acquaintance with Janet Kinley, daughter of the president of the University of Illinois. The two are married in October of that year. They purchase a home in Cannondale, a historic section of Wilton, Connecticut.
In the 1930s Gregg begins writing a history of shorthand, the subject that had been his lifelong obsession. The first chapter is printed in 1933, and successive chapters follow at intervals until 1936. He devotes time to charitable work and institutes scholarships in the arts and in court reporting at his Chicago school. His voluntary work on behalf of Allied soldiers and British civilians during World War II wins recognition from King George VI, who awards him a medal for “Service in the Cause of Freedom” in 1947.
In December 1947 Gregg undergoes surgery from which he seems to recover well. However, on February 23, 1948, he suffers a heart attack and dies in Cannondale, Connecticut at the age of eighty.
Former Commando Pat Gillen, one of the last surviving Irish D-Day veterans, dies at the age of 89 at his home in Cork, County Cork on December 27, 2014. He is among the first wave of troops to land on Sword Beach in Normandy on June 6, 1944.
A rifleman in the 6 Commando unit charged with securing the strategically important Pegasus Bridge near Caen, Gillen is never injured despite making a six-mile trek through marshland from the beach to Caen and spending weeks in the trenches at Saulnier. More than half his brigade falls in the face of vicious fire from German forces.
On his return to Ireland, Gillen applies for a job as a male stenographer with Ford Motor Company in Cork, where the company’s first plant outside the United States employs thousands of workers in the 1930s. Having studied Pitman shorthand, typing and bookkeeping at school, he is called for an interview that includes a shorthand test in which the only word “I could just not get right was carburetor.”
Not alone does Gillen land the job with the U.S. car and tractor firm, he also meets Rita, the daughter of his B&B landlady, whom he marries two years later. Blessed with a lively sense of humour, he has a natural flair for getting on with people and is assigned to Ford’s public relations division.
Gillen’s ease when dealing with journalists is an attribute that serves him well during an 11-year spell as Ford’s press officer, especially in the turbulent times leading up to its decision to close the Cork manufacturing plant in 1984, when he also retires after 38 years with the company.
A witty, unassuming man, Gillen’s abiding interests are gardening, his twelve grandchildren, the FCA, and letter-writing to wartime comrades, a practice he keeps up until weeks before his death.
On December 8, 2014, just over two weeks before his death and surrounded by his family in an emotional ceremony at the Mercy University Hospital in Cork, Gillen is presented with the Chevalier de la Légion d’honneur by the French ambassador to Ireland, Jean-Pierre Thébault, in recognition of his courage and gallantry in the liberation of France. It is the highest French honour.
With characteristic generosity, Gillen dedicates the medal to fellow countrymen, including two cousins who fought in but did not survive World War II. “This award is as much theirs as mine,” he said. “By the grace of God, I survived to be here today while many of my friends sleep in the fields of France.”
At the time of his passing Gillen is surrounded by his family. Predeceased by Rita, he is survived by their four children, Robin, Mary, Patricia, and Gerard, his sister, Mary, and brothers Michael (“Chick”), Liam and Bobby. His sister Angela Scully also predeceases him.
(From: D-Day veteran who became Ford’s PR man in Cork, The Irish Times, January 17, 2015)
Carney is educated at St. Patrick’s Christian Brothers School in Donegall Street in Belfast, later teaching at the school. She enrolls at Hughes Commercial Academy around 1910, where she qualifies as a secretary and shorthand typist, one of the first women in Belfast to do so. However, from the start she is looking towards doing more than just secretarial work.
In 1912 Carney is in charge of the women’s section of the Northern Ireland Textile Workers’ Union in Belfast, which she founds with Delia Larkin in 1912. During this period, she meets James Connolly and becomes his personal secretary. She becomes Connolly’s friend and confidant as they work together to improve the conditions for female labourers in Belfast. Carney then joins Cumann na mBan, the women’s auxiliary of the Irish Volunteers, and attends its first meeting in 1914.
Carney is present with Connolly in Dublin‘s General Post Office (GPO) during the Easter Rising in 1916. She is the only woman present during the initial occupation of the building. While not a combatant, she is given the rank of adjutant and is among the final group to leave the GPO. After Connolly is wounded, she refuses to leave his side despite direct orders from Patrick Pearse and Connolly. She leaves the GPO with the rest of the rebels when the building becomes engulfed in flames. They make their new headquarters in nearby Moore Street before Pearse surrenders.
After her capture, Carney is held in Kilmainham Gaol before being moved to Mountjoy Prison and finally to an English prison. By August 1916 she is imprisoned in HM Prison Aylesbury alongside Nell Ryan and Helena Molony. The three request that their internee status be revoked so that they could be held as normal prisoners with Countess Markievicz. Their request is denied, however Carney and Molony are released two days before Christmas 1916.
Following the Irish Civil War, Carney becomes much more disillusioned with politics. She is very critical and outspoken of Éamon de Valera and his governments.
In 1928 she marries George McBride, a Protestant Orangeman and former member of the Ulster Volunteers. Ironically, the formation of the Ulster Volunteers prompts the formation of the Irish Volunteers, of which Carney was a member. She alienates anyone in her life that does not support her marriage to McBride.
A number of serious health problems limit Carney’s political activities in the late 1930s. She dies in Belfast on November 21, 1943, and is buried in Milltown Cemetery. Her resting place is located years later, and a headstone is erected by the National Graves Association, Belfast. Because she married a Protestant and former Orangeman, she is not allowed to have his name on her gravestone due to the religious differences.
In 2013, the Seventieth Anniversary of Carney’s death is remembered by the Socialist Republican Party. Almost one hundred people attend as a short parade follows, marking and commemorating the work she did for the cause. She is placed in high esteem among the other hundreds of radical women, who stand up for what they believe in, regardless of the consequences they face.
Gregg is the youngest child of Robert and Margaret Gregg. They move to Rockcorry in 1872. Robert Gregg, who is of Scottish ancestry, is stationmaster at the Bushford railway station in Rockcorry. He and his wife raise their children as strict Presbyterians and send their children to the village school in Rockcorry. On Gregg’s second day of class, he is caught whispering to a schoolmate, which prompts the schoolmaster to hit the two children’s heads together. This incident profoundly damages Gregg’s hearing for the rest of his life, rendering him unable to participate fully in school, unable to understand his teacher. This ultimately leads to him unnecessarily being perceived as dull or mentally challenged by his peers, teachers, and family.
In 1877, one of Robert Gregg’s friends, a journalist named Annesley, visits the village for a weekend. He is versed in Pitman Shorthand and takes verbatim notes of the sermon at the village church. This causes the preacher to sweat and stutter out of fear that his sermon, which he has plagiarized from a famous preacher, would be made public through Annesley’s notes. That day, Robert Gregg sees the shorthand skill as a powerful asset, so he makes it mandatory for his children to learn Pitman shorthand, with the exception of John, who is considered by his family too “simple” to learn it. None of the children succeed in fully learning the system. On his own, John Robert learns a different shorthand system, that of Samuel Taylor, published in a small book by Odell. He teaches himself the system fully since he does not require the ability to hear in order to learn from the book.
Due to hardships on the family, Gregg has to leave school before the age of 13 in order to support his family’s income. He works in a law office, earning five shillings a week.
Gregg professes he initially set out to improve the English adaptation by John Matthew Sloan of the French Prévost Duployan shorthand, while working with one of Sloan’s sales agents, Thomas Malone. Malone publishes a system called Script Phonography, of which Gregg asserts a share in authorship is owed to him. Angered by Malone, Gregg resigns from working with him and encouraged by his older brother Samuel, publishes and copyrights his own system of shorthand in 1888. It is put forth in a brochure entitled Light-Line Phonography: The Phonetic Handwriting which he publishes in Liverpool, England.
In 1893, he emigrates to the United States, where he publishes in the same year Gregg Shorthand. The method meets with great success in the new country, and Gregg settles in Chicago where he authors numerous books for the Gregg Publishing Company on the subjects of shorthand and contemporary business practices.
John Robert Gregg dies in New York City, at the age of 80, on February 23, 1948.
Former 
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